By Eugene C. Scott
I wouldn’t voluntarily see a “Christian movie.” It’s not that they are cheesy. That’s a cheap shot. I’ve seen my share of cheesy “non-Christian movies.” Rather, it’s that movies produced by the Christian faith community, which supposedly portray faith, and might produce faith, seldom exhibit faith in God’s ability to communicate through a story well told. This usually makes them lousy stories. And it’s ironic because Jesus fearlessly told stories: one comparing God to an unjust judge.
Today’s Christian movie industry would never do such a thing for fear that some poor sap like me might misunderstand the point. Therefore, Christian movies seldom tell authentic, compelling stories because they are overly concerned with not offending popular Christian orthodoxy, with getting Truth right, and with ensuring that the movie gets people to heaven. For an example of this, read here for a discussion of whether the character “Penny” from “Blue Like Jazz” is Christian enough.
But I wanted to see “Blue Like Jazz” because I read the book several years ago, and found it refreshing, not your typical pastor-of-mega-church-preaches-sermon-and-turns-it-into-a-book book. Donald Miller is an excellent writer: poetic, funny, serious, irreverent, and honest in his prose. Miller trusted me to get the point instead of impaling me with it. I hoped the movie would follow suit. Plus Christianity Today said, “it’s hardly Christian cinema as usual.”
So, though I had trouble imagining Miller’s series of “nonreligious thoughts on Christian spirituality” being turned into a complete story, I donned my disguise and trooped off to see “Blue Like Jazz” (I always wear a disguise when going to Christian movies or book stores in case someone recognizes me. Just kidding, sort of).
The movie is the story of a fictional 19 year-old Donald Miller, who begins to feel his Bible-belt is cinched a bit too tight. “Don,” played dryly but authentically by Marshall Allman, has been accepted into a Christian college. The scene depicting his “graduation” at church is as intentionally uncomfortable as any I’ve sat through. Exaggerated but too close to home. Unknown to Don, his estranged–and strange–jazz-loving father enrolls him in uber-liberal Reed College in Portland. He rejects the idea as crazy until his mother inadvertently jerks his magic-carpet faith completely out from under him.
The rest of the film shows Don struggling to figure out who he now is, if he is not some caraciture of a flannel-board Christ. Don’s struggle is real and funny. I have not traveled Don’s path, but I did during the movie and I wanted his conflict and disappointment and loneliness to shape him into the person I read about in the book.
The writing is sharp, bouncing from Seinfeld-like irony to true soul searching. The scene where Don is sitting on a bench, alone, writing in his journal was powerful story-telling. More-so, when a friend from Houston unexpectedly shows up at Reed over Christmas break.
Director Steve Taylor filled Miller’s college life with quirky, troubled, and extremely intelligent fellow travelers. The movie claims the average IQ score at Reed College is a couple above genius. I have to admit, for several reasons, I may not have survived at Reed. It looked to me like flypaper for the world’s wildest and weirdest. But Reed made for a perfect setting for Miller’s journey.
Blue Like Jazz was not “Christian” nor cheesy. I enjoyed it. I laughed, cringed, hoped, and was lost in the characters and the story most of the time.
A couple of exceptions:
The animated car scene where Don drives from Texas to Portland is silly, even cheesy (but not “Christian cheesy”). I found myself taken out of the story then and it took me a few minutes to dive back in. I wish Taylor had spent that valuable screen time letting Allman develop Miller more deeply.
Too bad Taylor didn’t have more money so the cinematography and technical aspects would match the writing and over-all story. Even then it is well done on all levels.
Also, despite Taylor’s success in letting the story speak for itself, there were a couple of scenes that seemed built to communicate information rather than show Don’s struggle. But this was not often.
Over-all, however, “Blue Like Jazz” is a well-told, thoughtful, provocative story about a young man digging below his facade of safe, American consumer-driven religion to see if there is a real, living, breathing God buried there. That story is one, according to sociologist Christian Smith, many in fictional Donald Miller’s age group are living.
It’s a movie to be enjoyed and discussed. What did you think?
Eugene C. Scott is co-pastor of The Neighborhood Church. He tried to sound a lot like an official movie critic in this review because he grew up reading the reviews in TV Guide and it’s always been a dream of his to become a crusty media critic. Besides after ranting about Christian movies and book stores, he might need a back-up career.
By Eugene C. Scott